Visit Georgi at his Gallery:  Ditra Gallery 226 E. 83rd Street to lazy, then visit his website http://www.dimovart.com

After accomplishing the renaissance and using these techniques as a foundation, I have expanded into numerous art forms.  New works seem to emerge monthly. This summer my art is an explosion of accents of single color applied strategically to human body parts.  They rivet the viewer to experience color shock like a contemporary painting might do. All original creations and unique framing make these one-of-a-kind pieces an investment for your growing art collection.

Lana Ballot
Painting is my passion! Living on Long Island, I am lucky to be within a short distance to my favorite subjects – ocean, inlets, harbors and beaches. I mostly work in pastel, but also enjoy oils and watercolors.

In 2004, Redlin unveiled his most emotional collection entitled, “An American Portrait”. Considered by Redlin to be the most technically demanding project of his career, the series of 7 paintings tell the life story of a young American boy. The story was built around Redlin’s personal experiences and is his tribute to America.
In 2007, Terry Redlin retired from painting and print signing due to his personal struggle with Alzheimer’s disease.

 “I find it hard to categorize my work,” Marilyn admits. Her brush strokes vary from loose and playful to concise. Reminiscent of her major artistic influences, Claude Monet and Mary Cassatt, Marilyn’s florals are as representational as they are impressionistic.

In his art, Wyeth’s favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. Wyeth often noted: “I paint my life.” One of the best-known images in 20th-century American art is his painting Christina’s World, currently in the collection of the Museum of Modern Art inNew York City. This tempera was painted in 1948, when Wyeth was 31 years old.

artwork by Cheryl Molnar

 Molnar explained to me that her landscapes are collages in more sense than one.  She has held several artist residencies in the thirteen years she has lived and worked in New York, and the spaces she’s worked and lived in pop up, albeit chopped up and reconfigured, throughout her work.  Taken Aback (see this article’s header image), for instance, was made while in residence at the Wave Hill botanical garden in the Bronx.  It features an elegant glass dome and rolling hillside that nods to its Bronx companion without recreating it. Molnar’s are inviting, whimsical landscapes in which to lose yourself.

The Studio Museum in Harlem announced that it would open the first solo New York museum exhibition devoted to the work of Stanley Whitney, whose heavily brushed, brightly colored canvases have made him a kind of painter’s painter over the last few decades.

The show, “Stanley Whitney: Dance the Orange,” which opens July 16 and continues through Oct. 25, will feature mostly recent creations, 30 paintings and works on paper, including a painting completed this year. The museum noted that Mr. Whitney, who was raised in Philadelphia, moved to New York City the same year the Studio Museum was founded, in 1968, and that the museum was one of the first public institutions to present his work, in the early 1980s. Though he labored mostly in obscurity for many years, his work has developed an avid following, and is in the collections of the Philadelphia Museum of Art, the Yale University Art Gallery and those of several other museums in the United States and Europe.

In an interview, Mr. Whitney, 68, who studied with Philip Guston and Al Held, said that because he had worked in New York for so long, it was gratifying to have his first large museum show in the city. “It seems that people are more open now to artists like me, who have been working a long time to develop something,” he said, adding that he hoped viewers would also take their time to appreciate the results. “I always wanted sit-down paintings, a work that someone would sit down with, ideally for years, and live with and it would change for them over time.”

Angelina Gualdoni: This Brooklyn-based painter focuses on modern ruins, giving an uneasy grace to housing projects, neglected parking garages, and decaying corporate high-rises. Angelina’s clearly on-the-rise: She’s part of an upcoming group show at Chelsea’s prestigious Mixed greens Gallery.

My paintings are a carefully observed negotiation, manipulated layer upon layer in order to create a work of art as equivalent as possible to the complexity of real life.They are an attempt to control the almost uncontrollable substance that is oil paint, and the equally untamable expression of the human condition.